Michael Wendroff - Michael Wendroff (1973 us, magnificent folk soft rock)

Michael Wendroff began his musical career performing on the streets, alleys, and subway stations of New York. He also endured the long, cold nights in New York by working in an a cappella group that created amazing music using only the sound of his voice and two fingers hitting together.Τhe group he was a member of, "The Holidays", caught the eye of a record company and signed a recording contract. This happened when Michael was 16 years old. 

Around that time, Michael began learning the guitar and became involved in the explosively growing folk scene centered in Greenwich Village, where he met Bob Dylan, Tom Paxton, Eric Anderson, and Phil Ochs. In addition to listening to Ochs' music, he also performs his own songs. While attending Queen's College, Michael formed a rock group called "Sly Boots" with his friend David Greenberg and performed mainly his own songs. Οne day, Michael visited the Record Plant studio in New York to record (Notes On A Journey), which was scheduled to be released by Records, and while looking around the building, he discovered Jimi Hendrix recording a guitar solo. Jimmy asks Michael, who unexpectedly attends the session recording, which is the best, after playing three different solos, and they both agree that the second one was the best. Michael was mesmerized. Jimmy's solo, -which he enjoyed-, is included in "All Along the Watchtower." 

After graduating from college with a bachelor's degree in sociology, another fateful encounter approaches Michael. He produces Van Morrison's legendary album (Astral Weeks), Lewis Merenstein showed interest in his music and introduced Michael to Buddha Records president Neil Bogart. Neil immediately signed Michael to a long-term contract and released three albums, "Michael Wendroff" 1973,  "Southpaw" 1974, and "Recorded Live" 1976, all produced by Merenstein. In addition, French/Moroccan hard rock band Les Variations Co-produced Sion's album (Caf é de Paris) with Merenstein, was in charge of lyrics for Ray Charles' "Just Because " , and was the backing vocalist for Lou Reed's "Sally Can't Dance" We are expanding our activities in many ways, including participating in and co-mixing “Coney Island Baby.”

After leaving Buddah Records, Michael worked with various musicians in Woodstock, New York, while composing many songs on the piano . It is contained in the beautiful 1978 album "Kiss The World Goodbye" (Ariola America Records), created in a small villa in Woodstock and Michael's apartment in Brooklyn Heights. 

Tracks

1  On The Highway - 5:22

2  Now That You’ve Found Out - 3:51

3  Louise - 3:23

4  I’m Alright-You’re Alright - 3:58

5  A Different Place - 3:58

6  You Two - 3:09

7  I Was Trying - 3:16

8  Notes On A Journey East - 3:37

9  You Deserve Delicate Treatment (Donna) (Michael Wendroff, Garry Halpern) - 3:09

10. Acapella - 4:19

All sons by  Michael Wendroff except where indicated

Musicians

*Michael Wendroff - Vocals

*Kirk Hamilton - Bass

*Rick Marotta - Drums

*Bob Mann - Guitar

*David Spinozza - Guitar

*Hugh McCracken - Guitar

*Don Grolnick - Keyboards

*Eric Kihss - Keyboards

*Frank Owens - Keyboards

*Michael Brecker - Sax

*Barry Rogers - Trombone

*Randy Brecker - Trumpet

*Jim Maelen - Percussion

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Arc - ...At This (1971 uk, powerfull dual guitar classic rock with blues and prog shades, 2009 remaster)

Arc formed when guitarist John Turnbull and keyboardist Micky Gallagher, both recently of Skip Bifferty, teamed with bassist/singer Tom Duffy and drummer David Montgomery.

Turnbull and Gallagher first partnered up in 1966 when their respective bands, The Primitive Sect and The Chosen Few, merged into a new band, Skip Bifferty. That band endured itself to the psychedelic underground with three singles and a 1968 self-titled album on RCA Victor. Breaking from their management, they masqueraded as Heavy Jelly for the epic 1969 Island single “I Keep Singing That Same Old Song.” Later that year, the Bifferty camp split in two when bassist Colin Gibson and singer Graham Bell formed the short-lived Griffin.

In 1970, Turnbull and Gallagher recorded an album of covers by American singer/songwriter Tim Harding. (Though initially shelved, a 1972 single on Peacock Records acquitted two cuts, “Smugglin Man” and “Misty Roses,” under the name Turnbull and Arkwright.)

The album features nine originals, eight co-written by Turnbull and Gallagher, including “Hello, Hello, Monday,” “Great Lager Street,” “Let Your Love Run Through,” “You’re In the Garden,” “Sophie’s Cat,” and “Four Times Eight.” Duffy contributed the second track on side one, “It’s Gonna Rain.”

… at This is a self-produced effort. Gallagher plays guitar on select passages, in addition to piano and organ. The three writers share vocal duties. The cover sports a black-framed group photo, taken in a football field by Decca photographer David Wedgbury.

Later in 1971, Montgomery cleared out for drummer Rob Tait, formerly of the Battered Ornaments and Pete Brown and Piblokto! He also played on recent albums by Kevin Ayers and Paul Korda.

Jazz•Rock•Soul

Tracks

1. Let Your Love Run Through - 4:54

2. It's Gonna Rain (Tom Duffy) - 4:08

3. Four Times Eight - 3:15

4. An Ear Ago - 4:29

5. Great Lager Street - 3:56

6. Hello, Hello, Monday - 7:11

7. Perfectly Happy Man - 5:56

8. Sophie's Cat - 3:07

9. You're In The Garden - 4:51

All songs by John Turnbull, Mick Gallagher except where indicated

Arc

*John Turnbull - Vocals, Guitar, Percussion

*Mick Gallagher - Vocals, Piano, Organ, Guitar

*Tom Duffy - Vocals, Bass

*David Montgomery - Drums, Percussion

Related Acts

1966-69  Skip Bifferty - The Story of Skip Bifferty (double disc edition) 
1970  Brian Davison - Every Which Way (2010 edition) 

1971  Bell And Arc - Bell + Arc 
1972  Graham Bell - Graham Bell (2016 korean remaster)

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Thee Sixpence - Step By Step (1966-67 us, rough garage rock, Akarma issue)

Thee Sixpence was a garage rock/psych band that released a few singles in 1966-7 before recording "Incense And Peppermints", changing their name to Strawberry Alarm Clock, and achieving a fluke #1 hit. Most of the key musicians in the latter band were members at least part of the time in Thee Sixpence.

Beginning with "Long Days Care" b/w "Can't Explain" in the summer of 1966, Thee Sixpence went on to release a total of ten songs in roughly as many months. The last two of these, "The Birdman Of Alkatrash" b/w "Incense And Pepermints" [sic], were re-released by Uni after the band had changed their name to Strawberry Alarm Clock; the a- and b-sides of the record were also reversed, reflecting the rapidly growing popularity of the original single's b-side. All of Thee Sixpence's 45s were released on the small All American label, though at least one, "Fortune Teller" b/w "My Flash On You", was also released on Dot.

Musically, Thee Sixpence was a rambunctious garage/punk band in the mold of the Leaves, the Standells, and early Love. In fact, the band recorded two of Arthur Lee's songs from Love's eponymous 1966 debut LP, "Can't Explain" and "My Flash On You". (Another Thee Sixpence recording, of "Hey Joe", may be seen as a de facto third Love cover.) The ten songs available by Thee Sixpence show obvious and remarkable progress over the band's short career; where their first single is exciting but just manages to hold things together, by the end Thee Sixpence was experimenting with daring arrangements, varied song structures, and much more assured playing.

Along the way, Thee Sixpence also released a real lost psychedelic classic, the haunting, horrifying "In The Building". Strawberry Alarm Clock themselves rarely exceeded the weirdness of this piece, and although the recording is somewhat crude in a late-66 kind of way, "In The Building" benefits from its earnest, untutored performance.

Thee Sixpence eventually added Mark Weitz on keyboards, and the Strawberry Alarm Clock sound proper was borne. The band brought in Randy Seol on drums, and along with long-time members Ed King, Lee Freeman, and Gary Lovetro, the Clock was set and worldwide fame, not to mention further audacious musical explorations, were continued right under the noses of listeners everywhere.

TheSixpense

Tracks

1. Long Days Care (Gale Stedge) - 2:01

2. Can't Explain (Arthur Lee, John Echols, John Fleckenstein) - 2:14

3. Fortune Teller (Neville Minute) - 2:17

4. My Flash On You (Arthur Lee) - 1:57

5. In The Building (Gegast, Lamito) - 2:58

6. Hey Joe (Billy Roberts) - 2:32

7. Heartfull Of Rain (Bill Holmes) - 2:15

8. First Plane Home (Ray Davies) - 1:57

9. Incense And Peppermints (Ed King, John Carter, Mark Weitz, Tim Gilbert) - 2:49

10.Birdman Of Alkatrash (Mark Weitz) - 2:11

11.The World's On Fire (Bill Holme, Ed King, Mark Weitz) - 8:25

Thee Sixpence

Lee Freeman - Lead Vocals (1,2,4,6,8), Rhythm Guitar (7,9-11), Harmonica (8)

Steve Rabe - Lead Guitar (1-6, 8)

Ed King - Rhythm Guitar (1-6,8), Lead Guitar (7,9-11)

Mike Luciano - Lead Vocals (3,5), Tambourine (1,6)

Gary Loverto - Bass

Gene Gunnels - Drums (1-9)

Greg Munford - Organ (7,9-11), Lead Vocals (9)

Mark Weitz - Lead Vocals (7, 10), Tambourine (10)

Randy Seol - Drums (10-11), Lead Vocals (11)

George Bunnell – Flute (11)

Randy Seol - Vibraphone (11)

George Bunnell – Bass (11)

Related Acts

1967  The Strawberry Alarm Clock - Incense And Peppermints (2011 sundazed issue)

1968  Strawberry Alarm Clock - Wake Up...It's Tomorrow
1968-69  Strawberry Alarm Clock - The World In A Sea Shell / Good Morning Starshine
1969  Strawberry Alarm Clock - Good Morning Starshine

1969  Hunger - Strictly From Hunger And The Lost Album (akarma edition)

1969  Hunger - Strictly From Hunger (2018 three discs digi pak remaster)

1973  Lynyrd Skynyrd - Pronounced Leh-Nerd Skin-Nerd (bonus tracks remastered issue) 
1974  Lynyrd Skynyrd - Second Helping (24karat Gold CD and japan expanded edition) 
1975  Lynyrd Skynyrd - Nuthin' Fancy (japan extra tracks issue) 

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Songs - Vertigo (1973-75 us, exceptional west coast acid folk psych rock, 2023 remaster)

Bob Hardy and Cristopher Quinn met at River Junior College in Sacramento in the late sixties and formed Good Medicine in 1969, with which they played in their area and on the radio. Years later they joined Tim Timmermanns in 1973 (drums, flute, guitar...) and created Songs. Bob played guitar, bass, synthesizer, and sang, and Christopher Quinn was lead vocals. This trio recorded these songs between 1973 and 1975, which are collected for the first time on an album, released by Guerssen with the generic title of "Vertigo". 

Already in the eighties, Chris and Bob were part of bands called The Impulse or The Power. Tim continued to collaborate with Craig Chaquico’s band and John Cipollina in the late seventies. Hardy is currently recording songs under the name Forth Dimension Meditations Sounds that you can hear on his bandcamp while he claims to recover his beginnings. The Songs album is remastered from the original tapes, with photo inserts and liner notes.

Album begins with “Vertigo” between sound effects that lead us to a display of acoustics, powerful drums and enveloping vocals halfway between folk and acid rock with an abrasive guitar solo. Next, we hear “No Time Out For Blues” with Arthur Juncker on piano. Song with a notable presence of guitar plus voice dialogue with lysergic phrasing with the support of drums and bass. “Songs (for Chris)” follows with a moving piano entry plus synthesizer covering a passionate lead voice that is supported by the flute and the plucking of the acoustic. A more progressive part with flute solo is included. The side ends with “We Are” based on an atmospheric synthesizer and ethereal vocal games that fill the space with sound beauty with a rough guitar ending.

“Too Much, Too Fast” with Bob Bryzandine on bass. A tough psychedelic song with powerful guitars, an intense solo, great voices, sound effects and sharp drums. It continues with the melodious “Song For Me” with acoustic guitar, voice and flute accompaniment. The drums incorporate a jazzy air that is perfectly complemented by the folk, vocal and instrumental arrangements. There is also no shortage of acid guitar phrasings that perfect, even more so, such a suggestive song. The album closes with “On This Day”, a sensitive framework of synthesizer, guitar plucks, effects and ethereal voices that are combined with great skill and abundance of emotion. A song that advances inexorably with the refined presence of the flute, the flowing lines of the synthesizers, the weightless vocal experiments, and the ingenious rhythm of the percussion.

Guerssen

Tracks

1. Vertigo (Craig Chaquico, Tim Timmermans) - 3:41

2. No Time Out For Blues (Arthur Juncker) - 2:03

3. Songs (For Chris) - 4:14

4. We Are - 5:04

5. Too Much, Too Fast (Chris Quinn, Bob Hardy) - 5:07

6. Song For Me - 4:39

7. On This Day - 7:29

Songs written by Tim Timmermans except where stated

Musicians

*Christopher Quinn - Vocal

*Tim Timmermans - Acoustic Guitar, Flute, Drums, Piano, Vocal, Bells

*Bob Hardy - Electric Guitar, Bass, Vocal, Synthesizer, Effects

*Arthur Juncker - Piano

*Bob Byzandine - Bass

Related Acts

1970-71  Stow Lake - Flite (2023 remaster)  

1972  Asgard - For Asgard (2023 remaster)  

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Black Widow - The Ultimate Sacrifice (1969-1970 uk, terrific heavy psych prog rock, 2004 remaster and expanded edition)

Black Widow may have enjoyed a reasonably long and defiantly varied career. But to anyone who cares, they will be remembered for just one song, "Come to the Sabbat" -- not a hit single, but a standout on a cheapo label compilation in the early '70s, and destined to live on for decades after the band. Naturally, the accompanying Sacrifice album has bounced along in its wake, first as an increasingly expensive vinyl collectors' item, more recently as a regular on the CD reissue circuit, and here it comes again, this time bearing more primal Black Widow than you could ever have dreamed of hearing. 

Ultimate Sacrifice: One opens, naturally, with the original seven-song album. More fascinating, however, is the chance to hear five of the seven ("Way to Power" and "Attack of the Demon" are absent) in their original demo form, where they are revealed, if anything, to be even more dramatic than on the final vinyl. "In Ancient Days" in particular profits from the looseness of the performance, while "Come to the Sabbat" packs a feel of abandonment that makes the familiar version seem quite sedate. Of course, the bonus tracks are really only of interest if you truly worship the original record, and, once past "Come to the Sabbat," there probably aren't many people who feel that strongly. But the liners tell the band's tale well, the remastering is impressive, and if you're not doing anything next weekend, you might well want to drop by Black Widow's house. They've got somebody visiting, you know. In 2004, Castle reissued Sacrifice on CD with five bonus tracks, retitling it Ultimate Sacrifice: One.

by Dave Thompson

Tracks 

1. In Ancient Days - 7:36

2. Way To Power - 4:05

3. Come To The Sabbat - 4:51

4. Conjuration - 5:41

5. Seduction - 4:31

6. Attack Of The Demon - 3:48

7. Sacrifice - 11:09 - 

8. In Ancient Days - 9:27

9. Come To The Sabbat - 4:07

10.Conjuration - 5:49

11.Seduction - 4:38

12.Sacrifice - 10:52

All songs by Jim Gannon except traks 3,9 co-written with Clive Jones

Bonus Tracks Demo recordings 8-12

Black Widow

*Bob Bond - Bass

*Jim Gannon - Lead, Spanish Guitars, Vibraphone, Vocals 

*Kip Trevor - Lead Vocals, Guitar

*Clive Box - Drums, Percussion

*Zoot Taylor - Organ, Piano

*Clive Jones - Clarinet, Flute, Saxophone, Wind

1970  Black Widow - Black Widow (2014 remaster)  

Related Act

1969  Pesky Gee - Exclamation Mark (japan issue)  

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Shiva's Headband - Take Me To The Mountains..Plus (1969 us, remarkable mixture of country blues psych rock roots 'n' roll, 2006 reissue)

Back in the '60s, when every town in America seemed to have its own burgeoning music scene, Austin was strangely quiet. Long before the city became filled with clubs and began its hosting of the SXSW music festival, there wasn't much happening on the cool Texas plateau. Not much at all -- save for one group that all but dominated the scene from the late '60s to the early '70s. 

That group was the eclectic, country-fried psychedelic outfit known as Shiva's Headband. Leader, violinist, guitarist, and vocalist Spencer Perskin was (and still is) the quintessential Austin hippie, who not only lobbied for city-based cultural support for local artists (and succeeded, by founding the Armadillo World Headquarters) but also put Austin on the world-wide music map with the release of Shiva's first major-label effort, Take Me to the Mountains on Capitol (the first ever major-label release by an Austin band). 

The album is formidable, and its influence on the "galactic cowboy" genre was as great as, say, Love's Forever Changes was to the West Coast rock scene. It laid the groundwork for psychedelic twang and brought the world's attention to the creatively diverse (yet firmly rooted) music that was beginning to blossom back in those Texas heyday. Unlike their peers the 13th Floor Elevators, Shiva's Headband never took off into the stratosphere completely, though. Their rock was honest country-rock all the way, but not to the point that it was ever just a pedestrian rehash. Songs like "My Baby" and "Kaleidescoptic" may feature sawing violin and Texas drawl, but there's no denying that their main trajectory is rock. 

by J. Scott McClintock

Tracks

1. My Baby - 3:30

2. Take Me To The Mountains - 3:33

3. Homesick Armadillo Blues (Susan Perskin) - 2:37

4. Ripple (Shawn Siegel) - 3:55

5. Song For Peace - 4:31

6. Ebeneezer - 2:54

7. North Austin Strut - 3:01

8. Come With Me - 5:04

9. Good Time (Kenny Parker) - 2:59

10.Kaleidoscoptic - 3:30

11.Lose The Blues - 2:47

12.Lose The Blues - 4:55

13.Hi Love - 17:12

All songs by Spencer Perskin except where indicated

Bonus Tracks 11-13

The Shiva's Headband

*Spencer Perskin - Fiddle, Guitar, Vocals, Harmonica, Recorder 

*Susan Perskin - Vocals

*Shawn Siegel - Keyboards, Vocals, Harpsichord, Kazoo (Tracks 1-10,12,13)

*Kenny Parker - Vocals, Guitar, Bass

*Robert Gladwin - Guitar, Bass (Tracks 1-10,12,13)

*Richard Finnell - Drums (Tracks 1-10,12,13)

*Jerry Barnet - Drums (Track 11)

1971  Shiva's Headband - Coming To A Head (Akarma 2004)  

1977  Shiva's Headband - Psychedelic Yesterday (Akarma 2004)  

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The Blue Jays - Nascence (1970 us, awesome funky groovy brass rock)

Blue Jays were a US band, their sole LP "Nascence" recorded November 1970 on Map City Label (same as Purple Image and Yesterday's Children). Funky rock record with "Wahka, Wahka" a downtempo and moody cut & "Independent Man" a midtempo, edgy, funky tune. Collector's item with the Supa good "What Do You Want From Me Woman" sampled by "Large Professor" for "Nas" Rapper "It Ain't Hard To Tell".An essential LP with superb gatefold cover. After this release they changed the name to White Water and released "Out Of The Darkness" in 1973 on RCA label. John Vastano former lead singer/song writer of the Blue Jays/White Water, passed away September 21, 2018.  

Tracks

1. Hey Little Lady - 3:37

2. What Do You Want From Me Woman - 3:40

3. Freedom - Where Have You Gone - 3:35

4. Reason To Cry - 4:06

5. Independant Man - 3:29

6. Wahka Wahka (Dick Domane) - 5:40

7. Jackson (Billy Edd Wheeler, Jerry Leiber) - 3:23

8. Beg Borrow And Steal - 3:08

9. Hard Thing To Accept - 3:13

All songs by John Vastano except where stated

The Blue Jays

*Bob Fiocco - Bass, Trombone

*Conrad Catalano - Drums, Percussion

*John Emma - Tenor, Alto Saxophones

*John Vastano - Guitar, Vocals

*Richard Domane - Organ, Trumpet

Related Act

1973  White Water - Out Of The Darkness

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Zazu - Zazu (1975 us, beautiful soft prog rock with jazzy aspects, 2008 digipak remaster)

Chicago based Zazu released this only album which quickly fell out of site due to their label’s  lack of promotion. Music is Symphonic prog rock, nice guitars and lot of keyboards, good vocals and all -except one- are original compositions. The record label disinterested in anything the band did and a second album never released as well as Zazu’s guitarist ending up in a 'Hospital' years later.

Tracks

1. Country Eyes (Randy Curlee, Paul Ripurero) - 3:41

2. Upon The Island Unisphere (John Melnick, Randy Curlee) - 6:41

3. Just Friends (John Melnick, Bill Traut) - 3:48

4. Midnight Train (Rick Marotta, Stu Woods, Tom Cosgrove) - 3:59

5. Ittsanottasonatta, But It's Close (John Melnick, Paul Ripurero, Mickey Lehockey, Randy Curlee) - 10:23

6. Morning Rain (John Melnick, Mickey Lehockey) - 6:16

Zazu

*Randy Curlee - Bass, Vocals 

*Mickey Lehockey - Drums 

*John Melnick - Keyboards, Vocals

*Paul Ripurero - Guitars, Vocals

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The Crimson Bridge - The Crimson Bridge (1972 us, nice mixture of jazz funk blues brass rock with spiritual references, 2004 reissue)

Latin rock jazz progressive fuzz acid folk oughta describe this. God knows who was running the Myrrh-Label in 1972 but they score an authentic winner with this horn-based band. Vocals remind greatly of David Clayton Thomas and arrangements of Blood Sweat & Tears - a huge band at the time of this album. Gary Rand-composer of the ambitious side-long 'Suite In Three Parts' - will surface with an album of worship choruses in the 80's. Touches of scatting Swingle Singers, Elton John, Santana, and Broadway are in here. Much better than most major label stuff and not too hard to find. Awful cover. Crimson Bridge also had a 45 out; Livin' In The Love O' The Lord/Now Is The Time.

Liner-notes

Tracks

1. Better Times (Russ Gregory) - 3:15

2. Easy Ways (Russ Gregory) - 2:34

3. Comin' (Terry Winch) - 4:07

4. He's Alive (Terry Winch) - 4:10

5. Birthright (Russ Gregory) - 3:45

6. First Suite: First Movement (Searching in Reality) (Gary Rand) - 6:16

7. First Suite: Second Movement (Experience) (Gary Rand) - 5:26

8. First Suite: Third Movement (The Beginning of Joy) (Gary Rand) - 8:26

The Crimson Bridge

*Norm Bakker - Trumpet

*Dave Dyer - Bass

*Russ Gregory - Guitar, Vocals

*Carol Healy - Flute, Vocals

*Roger Heuser - Trombone

*Trish Rattan - Vocals

*Carolyn Shafer - Keyboards, Vocals

*Gary Shafer - Drums

*Terry Winch - Trumpet

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Steve Davis - Music (1970 us, marvelous blend of jazz, funk soul, folk, psych rock)

Steve Davis’s Music (1970) is appropriately named – this LP contains sounds that range from acoustic folk all the way to hard bop.  Davis shows his versatility as a composer on this record; it is exploratory and delves into a variety styles.  Many of these tunes utilize a typical jazz structure, providing a great deal of freedom for experimentation and soloing within the music.  Everyone in the band is given a chance to express themselves during the solo sections of Davis’s musical landscapes, allowing for the technical ability of his ensemble to really shine.  Ultimately, Music is a great example of how jazz can be stylistically implemented within a variety of genres.

The record begins with Destination Altitude – an assertive introduction which features a thumping horn section over Davis’s Hammond  licks and driving vocal line.  Percussionist Karl Himmel anticipates Davis’s tempo changes before he even plays them, allowing Bentley Smith to accentuate his guitar solo over the newly altered beat with ease.  Himmel breaks the beat in half for the guitarist, who shreds a Hendrix-esque solo over the colorful organ chords.

Space is one of the album’s more striking tracks, particularly because of its seamless transition from a hard-rock style refrain into a slow-swinging jazz section.  The aggressive tone of Bentley Smith once again takes charge, yet he steps aside for both the cosmic tones of Davis’ vibraphone and young saxophonist Billy Harper (who would later play with the great Elvin Jones) during the jazzier passage.  The best way to describe this section of Space would be to imagine dimly lit, smoky jazz club.

Davis steps aside as lead vocalist for It’s All Because She’s Gone and is replaced by Jim Hurt, the ensemble’s bassist.  The track begins with Hurt’s serenading vocal line on top of swinging instrumentation courtesy of Davis, Harper, and Kimmel.  This tune, being the longest cut on the album, is appropriately separated in two parts.  The latter features a lengthy solo by Bentley Smith, played in a similar vein to Grant Green or Wes Montgomery.  He plays with a dynamic intensity that shows his ability to remain subdued in tone while at the forefront of the group.

Lalune Blanche is my favorite cut off of this record.  It contains Davis’s best vocals; he sings beautifully melodic phrases (“Emily” is credited for Davis’s French lesson on this one) while playing wonderfully voiced chords on his B-3.  Harper and Kimmel are the supporting facets of Davis’s performance, backed by Hurt’s baselines which never cease to stop moving.  In addition, Billy Harper rips a lengthy solo towards the middle of the tune, in the vein of Tom Scott.  Of all the chances he has to shine on this date, Lalune Blanche is the one that Harper truly takes advantage of.  It is the most conversational of his solos thus far; he establishes a clear dialogue with Davis, Hurt,  and Kimmel.  Harper reacts incredibly well to the movements that the other musicians make, and this part of the tune amounts to wonderfully executed 4-part improvisation between bass, drums, saxophone, and organ.

I only have a minute complaint about the record; it seems to lack consistency.  There are very short, folky tracks on the album that seem out of place within the scope of the project.  That being said, these tracks are both wonderful and brief enough to be considered secondary.  They don’t do anything to take away from the album as a whole, and only after several listens do they really seem out of place.

Overall, Music is a great accomplishment.  For 1970 it’s far ahead of its time, and Davis’s compositions should be considered progressive to say the least.  That being said, he never oversteps any boundary that might take away from the seriousness of this work, and some of the tunes on here are really far-out.  It’s clear that a great deal of thought and conceptualization went into this recording; Davis managed to through eight songs together that sound nothing alike, and maintains a common overtone throughout.  From the folksy to psychedelic sounds, it’s pretty clear that the guys playing on this record are rooted in jazz.  I get the feeling that Davis’s had a clear intention with this project, and it seems like he may have tailored his compositions for a particular sounding group; one that would be able to apply jazz in a wide range of musical contexts.

The Vinyl Station, June 10, 2014

Tracks

1. Destination Altitude - 4:04

2. Poor Child Of The Street - 6:47

3. Space - 4:05

4. Please Come Back Home - 3:17

5. On A Sad Day - 2:01

6. It's All Because She's Gone - 8:21

7. My Life Could Be Better Without You - 4:01

8. Lalune Blanche - 5:27

All compositions by Steve Davis

Musicians

*Steve Davis - Organ, Chimes, Vibes, Lead Vocals

*Bentley Smith - Guitar

*George Clinton - Piano, Back Vocals

*Willliam Harper - Sax

*Harvey Thompson - Flute

*Wayne Hill, Trumpet - Flügelhorn

*Jim Hurt, Vocal - Bass 

*Wayne Butler - Alto Saxophone

*Karl Himmel, Drums, Percussion 

*Norm Ray - Baritone Sax, Flute

*Bill Pippin - Trumpet, Flügelhorn 

*Dick Miller - Trumpet, Flugelhorn

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